‘3 From Hell’ – Rob Zombie’s Vision of Madness and Mayhem Continues
I have no shame, nor should I, in admitting just how much I liked “The Devil’s Rejects.” While Rob Zombie’s first film, “House of a 1000 Corpses,” showed him to have a strong visual style and good taste in actors, it paled in comparison to the movies which inspired it. “The Devil’s Rejects,” however, showed him taking a number of cinematic influences and making them his own, and what transpired was a nasty grindhouse film which never pretended to be anything other than what it was. As a result, “3 From Hell,” was one of those 2019 movies I was most excited to see. How was it? Read on my fellow readers…
When we last saw Otis B. Driftwood (Bill Moseley), Baby Firefly (Sheri Moon Zombie) and Captain Spaulding (Sid Haig), they were going out in a blaze of glory as the police riddled them with an endless supply of bullets while Lynyrd Skynyrd’s “Free Bird” played over the soundtrack. They had reached the end of the line, or so we thought. As “3 From Hell” begins, a newscaster played by the great Austin Stoker informs us they somehow miraculously survived the lethal shootout by police, and they now have a lengthy trail to look forward which will determine their ultimate fate.
Now we can agree there is no way those crazy bastards could have survived such a shootout without at the very least a bulletproof vest. Still, perhaps back in the late 1980’s, when “3 From Hell” takes place, medical science was advanced enough to where gunshot wounds could be treated more effectively. Then again, Otis, Baby and Captain Spaulding are known as the devil’s rejects, and I guess Satan still does not have enough room for them in hell any more than he does for business criminals. Street criminals on the other hand…
Anyway, the three killers are sentenced to either life in prison or death by lethal injection, but we all know they are not going to stay there. Thanks to Otis’ half-brother Winslow (Richard Brake), Otis and Baby escape their confines and head out on the road to inflict bloody mayhem on both the innocent and those who they believe “wronged” them. As you can expect, there is plenty of blood, gore and carnage on display as one bullet or stab wound is not nearly enough to take down a human being here.
One sad thing about “3 From Hell” is how briefly Sid Haig appears in it. This is because he was in ailing health when production started, and it was determined he would not able to participate as a result. Watching Haig here is heartbreaking as he is clearly not in the best shape, but Zombie still does right him and writes one hell of a monologue which Haig performs to brilliant effect as he yells out loudly, “I’m just a clown dancing to the sins of mankind.” Listening to Haig here reminded me of what Augustus Hill once said on an episode of “Oz:”
“So, what is it that separates you and me from the goldfish, the butterfly, the flat billed platypus? Our minds, huh? Our souls, huh? That fact that we can get HBO? Well maybe it’s that humans are the only species to put other animals in cages. Put its own kind in cages.”
Still, I have to say “The Devil’s Rejects” is a hard film to top, and “3 From Hell” proves this to be the case. This follow up does not have the same level of sadistic glee, nor does it have the kind of lethal antagonist which “Rejects” had in William Forsythe’s character of Sheriff John Quincey Wydell. When the Otis, Baby and Wilson are forced to deal with a Mexican gang, they also appear here by accident to where their threat does not register strongly enough with us.
But just when “3 From Hell” looks to be an unnecessary sequel, I did find myself admiring Zombie’s subversive ways as he plays around with how people see serial killers from the outside. We watch fans of the Firefly family as they are interviewed on television, and they seem them instead as folk heroes who they believe have been wrongfully convicted. While we may want to criticize these fans for worshipping the wrong people, Zombie is very clever at illustrating how we are deeply fascinated by certain people who have performed the most heinous and unforgivable acts on others. While we say we are not, there is that part of us which is even if we do not admit it. Just like Mercedes Ruehl said in “The Fisher King,” the devil is a lot more interesting.
There is even a scene where we are watching footage of Otis and some fellow prisoners (one of them played by Danny Trejo) being led to work in a field, and this same footage also shows Otis escaping and killing a prisoner in cold blood while the camera continues to roll. Now this is not something which should be shown on television, but stations still do this every so often, and we are drawn to this footage even if we know better than to watch it. With “3 From Hell” and its predecessors, Zombie makes us see how drawn we are to pure evil even as we openly despise it.
While Zombie was forced to shoot this sequel on digital instead of film, he along with cinematographer David Daniels and editor Glenn Garland succeed in making it look as grungy as your average grindhouse picture from the 1970’s to where I honestly thought this was shot on film (the end credits revealed otherwise). However, the CGI blood does leave little to be desired even if the filmmakers did what they could to make it look real.
In addition to a strong film score from Zeuss, Zombie provides us with another great soundtrack to put his grisly images to, and it includes such classic tunes as Slim Whitman’s “The Devil is Singing Our Song” and Suzi Quatro’s “The Wild One.” He even uses Iron Butterfly’s “In-A-Gadda-Da-Vida” in a key murder scene, and I admired him for daring to do so as this song has already been used to unforgettable effect in Michael Mann’s “Manhunter” and a classic episode of “The Simpsons.”
As expected, the actors revel in portraying their politically incorrect characters and do so without any shame. Moseley may very well have given his best performance as Otis in this sequel as he gives the character more dimension you might expect him to have. And while she looks to chew the scenery a bit too much at times, Sheri Moon is a blast to watch as she brings a surprising degree of vulnerability to Baby. As we see her being held in captivity, Sheri makes us see how prison life has had a harsh impact on Baby’s mental state, and it was never a particularly stable mental state to begin with.
I also have to give Richard Brake a lot of credit as he is stepping into an ensemble which has long since established its own rhythm. But as Winslow, he manages to fit in perfectly with Sheri Moon and Moseley, and he makes this character stand out in his own uniquely maniacal way. The scene where he grins ever so slightly as Otis pounds a man’s face in with the butt of his gun gives this film one of its most chilling moments, and it shows how fearless Brake is in portraying such an amoral human being.
I did my best to keep my expectation in check when I came into “3 From Hell” as “The Devil’s Rejects” was always going to be hard to top. The fact it is not the equal of its predecessor is not a surprise, but there is still much I admired here, and I have no problem saying I enjoyed what Zombie had to offer audiences this time out. No, it is not for everybody, and there are scenes of sheer brutality which will have certain audience members dashing for the exit. But for those who like especially intense horror films, I felt this one delivered.
Could there be a fourth film in this franchise? I suppose, but at some point the devil has to make room for these three as well as all the criminals on Wall Street who continue to get away with far too much.